Within moments of the opening strains of Dan Higgins's distinctive alto saxophone sounds on the leadoff selection "When Sunny Gets Blue", his message is apparent. A firm advocate of the primacy of the inherent beauty of melodies, Dan's crisp yet warm interpretations reveal his high values for musicality. His goal orientation and outlook for his quartet's snapshot slate of tunes is appealing to ear-witnesses as he infuses the tunes with joyful freshness. The CD title registers his musical standards and his fond respect for standard tunes at large.

Nurtured early on in jazz via his father who was a jazz pianist and who favored a selective jazz record collection, Dan had access to Charlie Parker, John Coltrane, Phil Woods, Bud Shank, Cannonball Adderley and Paul Desmond among others. The classic altoists were his idols and Cannonball was his core influence. Dan elaborated further: "There's a great harmonic language worth noting and of course, the soulful sound of Cannonball's alto. I'm still trying to get back to the history of those players as well as incorporating newer developing jazz elements".

After playing clarinet and alto in high school, Dan chose to attend the University of North Texas. He was the lead altoist in its prominent One O'Clock Lab Band with whom he recorded the discs "Lab '76' and 'Lab '77". Distinguished as a stand out saxophonist, he taught improvisation and saxophone before moving to Los Angeles to pursue a freelance career. Clearly, his resiliency and woodshedding paid off generously as Dan's saxophone has been pervasive in films, television and recordings for many years. Although the alto is his main instrument, his well developed talent spectrum includes all woodwinds, making him an eagerly sought musician in the media mix; e.g., on motion pictures alone, he has credits on over 500 scores. A short billing of featured film credits include 'Catch Me if You Can', Sleepless in Seattle, Benny and Joon, Awakenings, Sideways, Ray, and Mouse Hunt. As for TV specials, a sampling includes The Academy Awards, Emmys, Grammy Awards, People's Choice Awards and the Simpson's TV series.

Dan has worked and/or recorded with dozens of notable artists such as Quincy Jones, Natalie Cole, Gerry Mulligan, Sammy Nestico, Phil Woods, Tom Harrell, Pat Williams, Louis Bellson, Ray Charles, Rosemary Clooney, Toshiko Akiyoshi-Lew Tabackin Jazz Orchestra, Eddie Daniels, Gordon Goodwin's Big Phat Band and George Duke among a crowd of many others. Moreover, Dan has been a guest soloist with the likes of the Boston Symphony, and the Los Angeles and New York Philharmonic Orchestras under the direction of John Williams.

Beyond the many roles and activities as a top working player in L.A., Dan has maintained a healthy jazz diet performing in groups with firm jazz directions. It is this lifelong persistent passion that feeds the rationale for Dan's CD at hand.

Despite Dan's super capability of playing an array of instruments, showcasing this breadth bears zero interest for him. As he points, out: "In a jazz record—you're selling jazz, not versatility". It's vital to note that this record is something I've always wanted to do. Also, I wanted to do a record my father would enjoy. He always loved beautiful melodies and would give me records by Don Byas, Dexter Gordon, and Ben Webster".

The literature of this CD's ten selections is equally divided between standards from the Great American Songbook as well as treasured jazz classics. A thoughtful balance of the two genres of standard tunes is expressed as a unified statement of Dan's values regarding the jazz canon and heritage. He demonstrates his ownership of his impressive, personal jazz imprint.

Dan's quartet embraces three top shelf L.A. jazz stalwarts. Although Jim Cox, Mike Valerio and Vinnie Colaiuta have been Dan's bandmates in many varied musical groups, this is the first time they were a quartet (somewhat typical circumstances in L.A.). Dan says, "Jim isn't just a great piano player. He is fabulous on any keyboard". It is plain that Jim is tightly connected to the Fender Rhodes. Vinnie is well known in any genre. "He really enjoys playing drums in a small group. He's always doing something different, contributing on a musical level in conjunction with the soloist". Mike has assumed the swarm of assignments formerly associated with the late Chuck Domanico. Understandably so, since Mike is an intuitive bassist. "He has a fantastic sound and feel with great harmonic insight", adds Dan.

Sharing another value laden approach, Dan says, "On several of these songs I chose not to repeat the entire melody, leaving more space for blowing and then button it up at the end, mindful of audience response. I'd rather underplay than overplay."

"When Sunny Gets Blue" is obviously a lot of fun to play. The melody appears instantly—crisp, yet warmly passionate, it is delivered with liquid fluency. Dan's signature sound and approach is fraught with pure refreshment. An exceptionally fine opening choice. Likewise, the samba flavor of Vernon Duke's "Autumn in New York" is a joyous jog through Central Park with the swinging foursome.

The expressive colors of "Beautiful Love" transmute to a range of emotions reflected in the masterful musicianship. Along with Matt Dennis' "Angel Eyes", they are two of Dan's preferred songs, so they are obligatory. "I try not to belabor a song. Sometimes just playing the melody on a ballad is enough for me. On "Beautiful Love" it was a treat having my son Dustin comp on guitar (who attends Berklee College of Music)." "Angel Eyes" shows a sympathetic posture on Dan's saxophone. And Mike's large solidly round notes are listening treats.

The popular Bob Haggart classic ballad "What's New" gets a rewarding 6/4 treatment. It's a model of trademark personalization, as Dan plays with a convincing vocal quality in his phrasing—luminously poetic as any alto version extant.

Midway in the CD the repertoire turns to the five jazz classic standards. They declare Dan's deep-seated commitment to the authentic roots of jazz and convey his pillars of beliefs. Assiduously they carry the uncompromising equation of jazz. Dan's strikingly immaculate facility blends the voice, the pulse and the heart of his music, speaking directly to the legacies of the remaining tunes.

Clifford Brown's jewel "Daahoud" endowed with neat chord changes shows Dan's elasticity and agility in executing the dialect with instinctive improvisation. On Wayne Shorter's "Black Nile" primarily considered a piece for tenor saxophone, it is refreshingly funkier on alto as Dan resourcefully embeds its melody and texture within his own displacements.

Originally designed for the soprano saxophone, John Coltrane's "Equinox" (vintage 1960 with McCoy Tyner, Steve Davis and Elvin Jones) features Dan's clarinet with Jim Cox on Wurlitzer creating a somber ambience reflecting the tune's moodiness. Its dividends are thick with beauty and appeal on this selection.

Also a contrast to the rest of the songs is Billie Holiday's "God Bless the Child", interpreted with more bluesy colors than any other title on the song list. Lastly, Sonny Rollins' forceful, epochal "Airegin" is liberated from the keyboard allowing the trio a la Lew Tabackin's style to roll out. Vinnie seizes the chance to shine with taste and vigor.

The quartet's performances on this CD evince the inner beauty and pristine clarity of its total embodiment. It surely fulfills Dan's imperatives and his wish to make a record that also promises delights for his father.

A key resonant effect of the set is that it serves as an alert for jazz fans that have not been keenly aware of Dan Higgins' exquisite sound and artistic strengths up front—a serious invigorating jazz voice with paid up dues. Dan Higgins earns quality responses for his outright standards of excellence.

--Dr. Herb Wong
Past President, IAJE